The Reticulárea (1969), by Gego (Gertrud Goldschmidt, 1912–1994), the Venezuelan artist originally from Germany, was sent abroad only once, for the exhibition, Latin American New Painting and Sculpture: Juan Downey, Agustín Fernández, Gego y Gabriel Morera at the Center for Inter-American Relations Art Gallery, New York. In 1982, Gego traveled to Frankfurt to mount another Reticulárea, [which would be] known as the Reticulárea Alte Oper [Old Opera House Reticulárea] (1982). The work was included in a group exhibition, Spielraum-Raumspiele [Play Room/Play Space], held in Frankfurt’s Alte Oper. When she returned to Caracas, Gego maintained a correspondence with the architect, Christian Thiel, who had helped her mount the work. This letter has information related to the history and location of Gego’s works. According to Thiel’s letter, the packing and safekeeping of the Reticulárea (1982) was done by him and his team in a highly professional manner. However, for some unknown reason, the Reticulárea (1982) was never returned to Venezuela. Ester Crespin wrote “Biografía de la Reticulárea” [Biography of the Reticulárea] for the book, Desenredando la red. La Reticulárea de Gego. Una antología de respuestas críticas / Untangling the Web: Gego’s Reticulárea, An Anthology of Critical Response, María Elena Huizi and Ester Crespin (organizers), to be published [in 2013] by The Museum of Fine Arts, Houston, and the Fundación Gego, Caracas. In this “biography,” she reports the following: “In 1982, the critic Dietrich Mahlow, a friend of Gego, undertook a study of 100 years of metal in the visual arts, from 1880 to 1990, which led to the exhibition, Spielraum-Raumspiele, held in Frankfurt’s Alte Oper. Included in this exhibition was a new Reticulárea, shown in the Liszt Room. (…) Some months later, the work was taken down and packed by the same person who mounted the exhibition, the architect Christian Thiel (along with his assistants). Once packed, it disappeared, and it was impossible to find. It was never sent back to Venezuela, and there was no one who would take responsibility. In 1987, the Consul General of Venezuela in Germany, Paulino Paredes, wished to donate one of Gego’s works to her native city, Hamburg. Gego took advantage of the consul’s request to insist on the search for the vanished work through the consulate, but to no avail (to date); no news emerged on a single piece of the work. It would seem that the Reticulárea shown in the Liszt room completely and permanently disappeared.”